Театральное начало в поэтике «Вечеров на хуторе близ Диканьки» Н. В. Гоголя
The Theatrical Principle in the Poetics of “Evenings on a Farm Near Dikanka” by N. V. Gogol

Summary/Abstract: The article examines the theatrical nature of Nikolai Gogol’s artistic thinking in the early period of his work, drawing on the cycle of tales “Evenings on a Farm near Dikanka”. The relevance of the study stems from the need for a comprehensive understanding of the relationship between the writer’s stage experience and the formation of his poetics. The study aims to identify the mechanisms through which theatrical principles function in the narrative structure and in the construction of the figurative system of the works. The research draws on the texts of the tales, epistolary and memoir evidence from contemporaries, as well as critical works and studies. The study establishes that Gogol’s stage experience, acquired at the Prince Bezborodko Gymnasium of Higher Sciences, influenced the formation of a specific type of artistic vision. Narrative fragments are organized according to the principles of mise-en-scène, action is concentrated within a conventional space, and techniques of lightand-shadow and sound organization are actively employed. Gesture, facial expression, and physical expressiveness acquire particular significance, performing semantic and characterological functions by intensifying verbal expression and contributing to the effect of visual spectacle. The principle of contrast, realized at the level of portrait characteristics and acoustic environment, functions as a structural element of the artistic system. Theatricality thus appears not as an external device but as an immanent property of Gogol’s early poetics that determines his representation of the human being and the world. The study clarifies the understanding of the genesis of Gogol’s artistic method.

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